Archive for November, 2010

Here’s something to warm the cockels on a bitterly cold winter-eve. Turn the bass up to 11 and get on this glitched-up remix of Big Boi’s ‘Shutterbug’ by California bass music enthusiast Mochipet.  His other stuff is well worth a listen as well so get on SoundCloud for that.

Big Boi – Shutterbugg (Mochipet Remix) by Mochipet

free-stuff

As internet usage figures sky rocket further and further and the currency du jour becomes Facebook ‘Likes’ and Twitter RT’s, intellectual property is being unceremoniously boshed down from its pedestal by a by the pugil stick of Creative Commons.  Creative Commons allows artists to licence their music so that only some or even no rights are reserved.  This means that it’s legal for people to distribute copy and even remix a track that is licensed under Creative Commons meaning more fun for listeners, more room promotional opportunities for artists and more creative room for manoeuvre.

There are four levels of Creative Commons licensing:

Attribution

All CC licenses require that others who use your work in any way must give you credit the way you request, but not in a way that suggests you endorse them or their use. If they want to use your work without giving you credit or for endorsement purposes, they must get your permission first.

NonCommercial

You let others copy, distribute, display, perform, and (unless you have chosen NoDerivatives) modify and use your work for any purpose other than commercially unless they get your permission first.

ShareAlike

You let others copy, distribute, display, perform, and modify your work, as long as they distribute any modified work on the same terms. If they want to distribute modified works under other terms, they must get your permission first.

NoDerivatives

You let others copy, distribute, display and perform only original copies of your work. If they want to modify your work, they must get your permission first.

This licensing has opened up doors for numerous creative initiatives to get involved and promote and display Creative Commons licensed music.  One of leading websites for discovering CC licensed music is the Free Music Archive which is an ‘interactive library of high quality, legal audio downloads’.  Set up and directed by the longest running freeform, non-commercial radio station WFMU which broadcasts in Jersey City, NJ.  The Free Music Archive works on curatorial basis with tracks selected and archived by WFMU, KEXP, dublab, KBOO, ISSUE Project Room and Cash music.  Artists are provided with a free space from which to promote their music and share their story.

My research also led me to a very nice internet record label close to home; Upitup Records with roots is Rome, Stuttgart and our very own Liverpool are one of the original purveyors of quality free music within the burgeoning free music scene since 2003 and are now enjoying somewhat of a renaissance.  One of the first in the game, they’ve carved out a penchant for releasing quality free music leading to the development and unveiling of several well known artists.  Started by forerunners of the free music scene Tracky Birthday, Pierlo and Isocore, they have released records from artists such as Rodlok, The Discoghosts and Dan Deacon.

If you want to see what all the fuss is about and get stuck into some wonderful Creative Commons licensed music I suggest you try the following:

Free Music Archive

WFMU Radio

nOtheen Radio

Dublab

If your in Liverpool check POSTMUSIC

Boardwalk-Empire-001

Here’s the Sentric weekly office playlist featuring a swashbuckling concoction of our most played tracks of the week.  Click the link below to check it out via Spotify.

Sentric Office Listening #4 12/11/2010

Filesharing-792787

Who is worse; ‘File Sharers’ and ‘illegal downloaders’ that are robbing the music industry blind, or the industry itself?

This isn’t obviously something new, and in case you’re wondering, I’m not only just ‘clocking on’ to the fact that people take music without paying for it. However, what is new is the idea that a court of appeal has this week reduced the sentence for a woman that was sharing 24 songs on Kazaa. Sounds great doesn’t it? She has to pay less, right?

Well… the nice judge did decrease the figure to a measly £41,000 ($65,000) which means that the poor lady sharing 24 songs in 2006 will be paying 51,898 times more for her music than she would if she paid 79p for the songs in iTunes. Now, that’s taking the piss a little isn’t it? It’s probably the only figure on the planet that is actually higher than the rate of inflation in Zimbabwe.

What about the file sharers that share 30,000 tracks? What about the file sharers that share software products (that don’t work by the way)? What about the file sharers who share 10,000 films? Finding a woman that in the grand scheme of things, is pretty innocent, and charging her £41,000 per song seems a little over the top. She was sharing little over 2 albums and she gets caught out and hung, drawn and quartered. The way that this industry is attempting to tackle illegal downloads is so far away from perfect that it’s embarrassing.

Have you ever seen a gangster film where the police chase after the drug users? No. Why? Because they aren’t worth it. Go for the big boys. Go for Pirate Bay. Leave poor Mary alone for Christ sake.

During the process of reading this article, writing this blog and chatting with sP from Sentric Music, I think I have an idea which will change the world.

Ready?

Align the penalties for file sharing with the relativity that it deserves. Looking at other penalties, it becomes easy to see how the industry can tackle a problem that has ‘crippled’ it (it is downloading of course, not the fact that people aren’t writing good music) without alienating the people who are most important; the consumers.

I dropped a cigarette on the floor a few months ago, and I got pulled by one of those traffic coppers. After a long debate about whether the nice gentleman even qualified as a policeman, I was forced to pay a £75 fine. Bit of a ball ache, but given that I must’ve dropped about 50,000 cigarettes on the floor in my time it’s not a big price to pay. It actually made me feel better about the other 49,999 stubs I threw on the floor, as if I’d paid my way somehow.

If you’re unfortunate enough to get a parking ticket, the same principle applies. You’re pissed off at the traffic warden for about 15 minutes, and then you think, ‘I get away with this all the time so if you average out the fine against the amount of times I park illegally, it still works out less than £5 per minute I get raped for every day by parking legally’.

If the Music Industry took this approach, the cost of fining these murderous file sharers would dramatically decrease. Simple letters would be sent, and the fine would be £25 per track for example. If you get fined £25 the parking ticket principle applies; fair enough, it’s more than 31 times the value of the song but it’s £25. You’re given 3 weeks to pay the fine, and if you don’t pay it goes up to £35 per song.

The annoying thing about this whole topic leads me back to a pet hate. The only person than wins in this scenario is the lawyer. Poor Mary can’t afford to pay £984,000 for 24 songs meaning the record label doesn’t get the money. Poor Mary lives a life of hell and goes bankrupt, and so does the artist because the record label won’t commit to another album.

The lawyer gets £3k per hour to solve nothing. The robbing bastard.

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