© is good for artists, ask them

Today I was copied into a Twitter conversation about copyright. It began with an interesting article about The Limousines and a rather badly informed interviewer taking issue with crowd-funding. From there it developed into a downer on copyright in general.

Let’s consider the Torrent Freak article quoted here:


140 characters won’t do it justice, so here’s my reaction.

Rick Falkvinge says gatekeepers take 99% of the money. That’s true. I’m well aware of the Tamla Motown story and how artists are gouged by the record industry but that’s a feature of the record industry not copyright.

I’m not interested in labels, especially big labels, and I see publishers as largely incompetent. The future—for creative music at least—is happening outside of all that. Independent artists (the ones I’m interested in) don’t give up 99% of their earnings to gatekeepers. They rely on their copyrights.

Rick Falkvinge says “Eliminate those gatekeepers and those 93% of the money go to artists instead – or at least, a significantly larger portion of it.” But if the artists have no legal claim to their work how can they earn from it?

We don’t have to guess how big business would behave in the absence of legal ownership. Sam Tarrantino (Grooveshark) makes money out of other people’s work. So does Kim Dotcom (MegaUpload). And so, of course, does Google and many others. They pay the artists nothing.

Tunecore screens uploads for tracks that are simply copies but they still get through and often appear on iTunes and other retail sites. Without ownership of their work how can the money “go to artists“?

Rick Falkvinge says:

The myth that the copyright monopoly is needed for any kind of artistry to make money, or even to happen in the first place, is an obscene myth perpetuated by those who have something to gain from skimming off 90% of the artists’ money by denying them an audience in an old-style racketeering.

But I can point him to hundreds of artists without any record label who say otherwise. Perhaps he can tell us how composers who write for TV and cinema would get paid (composers are getting a PRS distribution right now). Without copyright that money wouldn’t find its way to artists, it would simply stay in the pockets of TV and film studios. How would artists get paid by radio?

The old mainstream system was and still is corrupt but because of greed not copyright. The new technology companies want everything for nothing and would rather see the back of copyright. The old and new mainstream are both playing the same game.