The Swedish Pirate Party
Blogged here by Jonathan MacDonald
It is mandatory reading y’all 
J*Davey is on our radar
Put simply, you HAVE to check out The Knowledge posting: J*Davey is on our radar.
Brilliant.
Thanks to @catarino
HELL, YOU DON’T OWN ME
The below was submitted by Peggy, originally from Hans at We Enhance. Enjoy:
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George Harrison once sang that “the farther one travels, the less one knows.”
If he was referring to what is going on in the music industry, then, he was right.
With all the “new” music around today – more music than ever before and more “musicians” than ever before – no one is any the wiser as to who owns what and where and why and how it’s all a silly game of blind man’s bluff.
Many pretend to have and know the answers, but, as the song goes, it’s only make believe.
Nobody’s right when everybody’s wrong and “contracts” mean very little.
Or they mean making noise outta nothing at all.
It will all come down to who has the loudest voice.
And who has the biggest army of lawyers.
Even then, laws to do with music are so, well, up in the air, they’re not worth the digital space they’re written on.
In a country like China, it comes down to “Law? What law?”
Music companies today are reelin’ and rockin’.
And not from music.
Sales have plummeted.
Once extravagant lifestyles have had severe cutbacks.
The “little people” have been let go so the big boys could play a little longer.
Also gone is the original concept of a music company.
Today, ask what a music company does and you’ll receive the same answer:
I don’t know.
Ask most new artists what a music company can do for them and they’ll answer,
“They can give me tons of money.”
No they can’t.
The Golden Goose can no longer lay any golden eggs.
We have already seen at least one music company Chairman paid millions to just leave.
This, after leaving his former company in tatters.
This after breaking every sexual harassment law.
And with everything swept under the carpet by the Old Boys Club.
We have seen highly-paid newbies waltz in and out of supposed music companies.
We are still seeing some newbies just sitting there and being paid for doing nothing.
We have seen musicians up and leave their former “homes.”
Starbucks is now a music company.
We have seen incompetence rewarded.
We have seen many continue to make ninnies of themselves.
We have also seen Goliaths constantly trying to beat Davids.
And taking what’s rightfully not his.
It’s all being done through bully boy tactics.
But, now is the time for all the Davids of the world to take that slingshot and whack Goliath in the middle of his forehead.
And when he’s down, kick him in the gonads for added satisfaction.
Now is the time for Artists to take Control.
The lunatics must take over the asylum.
If not, music will die as there will be no point producing it.
Forget all this “passion for music” stuff.
One needs to be paid for this passion to continue.
As “Howard Beale” in the movie “Network”said,
I’m as mad as hell and I’m not going to take it anymore!”"
If a musician, open your windows and shout it out.
Even if not a musician, do it.
It’s time we all did.
Why am I mad?
âcos of the following and a warning of how if something THIS small becomes embroiled in “Rights Issues,” imagine what is happening to much bigger recordings and to far bigger artists.
A music track and video which EMI, the music company I was working for until 2007 are claiming on YouTube that they “own” and have “licensed” the track, “Instant Sharma” by “Artist Extraordinaire,” Mr Sharma, an Indian restaurant manager mate of mine in Hong Kong who cannot sing, yet recorded two “music tracks.”
http://www.myspace.com/instantsharma
This “factoid”â came about as the channel is now going through another new round of growing pains and aches.
The music video for “Instant Sharma” has been on YouTube with no “interruptions” for three years.
It’s almost funny that we can all “own” so many rare Beatles videos.
But how this obscure video by a singing Indian restaurant manager is already “owned.”
In a way, Mr Sharma should feel chuffed as hell.
Blocked everywhere except in these locations:..Huh? Which locations?
Here’s some food for thought:
EMI did not pay for the recording.
It did not pay for the music video.
They do not own the Publishing.
The company had Mr Sharma sign some “contract.”
He did.
As a favour to me.
Mr Sharma has never received a copy of this “contract.”
I should know.
My company manages Mr Sharma.
Checkout: http://www.we-enhance.com/mr-sharma
Also, no one connected with this recording has signed anything with EMI.
In three years, no one has also received ANY payment.
And yet, EMI “owns” the Rights?
I was there when this recording was done.
It was my initiative.
It was done on a whim.
It was a group of mates getting together to make something outta nothing at all.
One happened to work for EMI.
Me.
Mr Sharma and Me.
The paperwork for the “work” in question was sloppy.
Most of it has been “lost in the mail.”
And that’s being extremely kind.
Many chipped in to make this track happen.
Morton from Schtung Studios in Hong Kong.
Munir and Trisno in Singapore.
Josh who produced the music video.
EMI?
They did nothing.
They were involved through association.
Their association with me.
And they “own” the track?
Did EMI help to market this track?
Not one bit.
When sent to the UK as a novelty track that might be worth including on an international compilation, there was no response.
A few months later, came what can only be described as a “French” version of”Instant Sharma.”
Whereas we had used an Indian restaurant manager who now runs a Lebanese restaurant in Hong Kong to “sing” on the track, EMI France used a singing Turkish kebab maker.
For the finest fine Lebanese food and wine,
call Mr Sharma +852 2541 8282. Iâm telling you. Think about it.
The song was pretty much based on “Instant Sharma” – and whose copyright is owned by my Publishing company.
I wrote to my “brothers” at EMI France mentioning this similarity.
Non respondez s’Ãl vous plait.
But non surpris as, at the time, the office reported in to one JF Cecillon.
The only good thing he had going for him was a full head of hair.
The man was hardly the smartest light bulb in le maison.
But he was a political survivalist who was finally booted out.
In the end, only EMI India released “Instant Sharma” and another track by Mr Sharma called “Hooray For Bollywood.”
This latter track was bunged onto the same CD.
But, it was the wrong version.
Someone in the office had only sent India the demo.
They didn’t know so they included the track.
Accounting, “Legal,” a nitwit running “new media,” no one knew anything about this track.
No one cared.
When these two recordings were made, all one can say is the accounting “system” at EMI South East Asia was loosey goosey.
It was all guesswork and not paperwork.
There were kids playing with numbers.
Nothing added up.
Exports were flying around the world.
And the results of this mis-management is now being seen.
Hell, even George Harrison’s son Dhani wants his great new band to have nothing to do with his Dad’s one-time recording company.
Watch: http://www.youtube.com/watch?v=giFtE3SClOM
This speaks volumes.
Those good old days when “Accounting” meant checking to see how much one had spent on their monthly Travel and Entertainment receipts is coming back to bite music companies on their asses.
So-called “contracts” once drawn up by gremlins are now as worthless as paper airplanes.
Words like “Marketing,” “Legal,” “Accounts,” “General Manager” were just titles for a name card.
I was “Executive Director,” but no one could tell me my job responsibilities.
When music companies were caught Napstering and napping, it would affect them in so many other ways than a downfall in sales.
It would mean that the day when who owned what would come into play.
Channels like MySpace and YouTube and everything else have blurred the lines of ownership even more.
Nobody owns what everybody’s already got.
And taken for free.
It’s all one cacophony of sound that is not music to anyone’s ears.
Go back and listen to what Dhani Harrison has to say.
How he compares music companies to banks.
But how they are banks without any money.
And how he and his mates can do a far better job “selling” their music than any music company.
Write to Thom Yorke. Chris Martin. Trent Reznor. Prince. Robbie Williams. McCartney. Eddie Vedder.
They’ll say the same thing.
Then think:
Isn’t it time there was a huge paradigm shift?
Aren’t the four [three?] major music companies left no different from a company like AIG?
Or Freddie Mac and Fannie Mae?
Or the US automobile industry?
Are they also who Dylan warned us about?
You know, when he sang, “Don’t follow leaders.
Watch your parking meters?”
A Stimulus Package for the music industry will not come.
That left with former corrupt key Execs who ran away with their PAs and town houses.
Plus their tins of biscuits.
And with their golden handshakes and golden parachutes.
What’s left is for Artists to take control of their destinies.
No one else will.
And it’s the reason why We-Enhance will shortly launch AIC – Artists In Control.
Artists In Control will mean you now can ask our International panel of lawyers, music execs, journalists, other musicians, even more lawyers and anyone and everyone still connected to the entertainment industry about anything and everything.
It means putting you – the Artist – in control.
It means eliminating the middle man.
It means feeling safe and secure to create music again.
It means giving the middle finger to those who try to take and take.
Without giving.
We’re all the Pirate Bay
The Swedish artist Montt Mardié thought The Pirate Bay needed an theme song, an anthem. So he created one! We like it a lot and hope you like it too. You can download the torrent here, and watch the video as well. We also got the audio files so all you TPB fans can make your own version, your own remix! It would also be cool if you did your own version of the video and post as a video response on youtube. As Montt Mardié put it: ‘To show the world, that we’re all The Pirate Bay..
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Canadian music pirates of 1897
Turns out this isn’t a new concept
Click here for the Boing Boing, courtesy of our friend MS
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The lessons of The Pirate Bay for the RIAA
There’s a great way for the Obama administration to save money and help the music industry finally evolve.
Recently a fifth RIAA lawyer was added to the U.S Justice Department despite the objections of public interest groups, trade pacts and library coalitions.
This would be the RIAA celebrating the fact a federal appeals court has barred a live webcast of the ongoing Joel Tenenbaum trial in a victory for repressing information. After all, if you’ve sued 30,000 people without managing to make the slightest dent in society, then you might be a little embarrased by the public seeing your claims in court.
So here’s the money-saving, music industry-saving answer:
Stop hiring lawyers, and instead start hiring prominent P2P users to implement solutions based on common sense rather than legality and protectionism.
Sounds like madness?
Since the four defendants were found guilty in the The Pirate Bay trial, membership of Sweden’s Pirate Party has shot up – including 3000 new members in the first few hours after the decision.
Over 100,000 people have already signed up, pre-launch, for IPredator, the Pirate Bay’s new service to hide IP addresses from authorities, with the Pirate Bay not logging any data to avoid having anything to turn over to authorities.
A new study from Norway has shown illegal file sharers are more likely to buy music from legitimate sources than other web users.
Not only that, but the illegal file sharers buy 10 times more music than other web users, using iTunes and Amazon.
And this echoes a study by the Canadian Record Industry Association in 2006, with three out of four file sharers buying tracks they’d previously downloaded illegally.
Quoting selectively from Umair Haque on his Harvard Business School blog:
‘No business has a right to profit, sell, or even to produce. All are privileges that society grants businesses.’
‘every time the music industry kills an underground distribution channel, a more efficient one arises in its place. Goodbye mixtapes, hello www. Bye www, hello Napster. Bye Napster, hi BitTorrent. Bye BitTorrent, hi anonymous, ciphered, totally decentralized p2p nets.’
‘Why? By limiting the supply of interaction, the music industry is only ensuring that each interaction becomes more and more efficient. The endgame is a distribution system where every song in the world in the world can be zapped invisibly and anonymously from me to you in a nanosecond.
The point? 21st century economics are radically decentralized. Wars against networks are unwinnable — when orthodox organizations are the ones fighting them. Only networks (or markets and communities, if you’re a long-time reader) can fight other networks.
Want a better music/media/etc. “business model”? The understanding that hierarchies are dominated by networks is the key — and the failure to understand it is exactly why the media industry is so deeply in decay.’
Free Music Archive
PAS sent in a link to the Free Music Archive.
Check it out here.
E M I R I P
Great post by Hans Ebert over at we-enhance:
http://www.helloaudience.com/cgi-bin/mailview.pl?id=385868_hMuE60
Our sentiments entirely.
Losers.
Thanks to PS for the heads up 
Music plonkerisation
Our friends at Resonance Blog posted a wonderful rant:
The Fundamental Issues Surrounding The Entertainment Industry
Read the full post here on Jonathan MacDonald dot com
Excerpt below:
1. The licensing bodies demand fees that are extraordinarily challenging (read: totally impossible) to cover with ‘advertising’ as we know it today – Why? Because:
2. The ‘advertising’ model commonly adopted (pre-roll, post-roll, ham-roll, banners and buttons), is mainly tolerated by people who want free stuff – rather than who want to communicate with brands – hence advertising is remarkably inefficient regardless of what metric is used to cover the tracks (sorry, ‘prove effectiveness’)
3. ‘UK Music’ and several other organisations are unwilling to accept the way the entertainment industry actually is – the manifesto of which you can read in full here
4. We live in a world where those with the loudest voice, sadly, are those who have absolutely no link to reality and come up with utterly ridiculous notions such as thinking a distribution channel (like YouTube) is somehow ‘unfair’ in rebelling against a bloated and greedy industry, clinging onto its 1987 Porsche Targa by its charlie-ridden fingernails
5. Ek (Spotify), Purdham (We7)n and Arora (Google) just wanna find a way of legally allowing people to access the music they love, yet the music industry is unwilling to work symbiotically to make this happen – meaning, ultimately, music lovers lose out
6. This drives more services out of business and more music lovers to seek other access points – in many cases, illegal
7. As services show that ad-funding can’t cover fees, the advertisers become more skeptical and less willing to invest heavily meaning that issue #1 is even more true…
…and the vortex continues to perpetuate.