Pussy Galore / Mixed Media & Illustration / 2011

Lil Kim vs Nicki Minaj, Round… who knows

Got around to listening to Lil Kim being interviewed on Power 105.1FM’s The Breakfast Club (link: http://youtu.be/sfwGuA3h99U ) on May 17th 2012. DJ Envy, Charlamagne and Angela Yee asked the usual round of questions but course the topic quickly shifted toward her beef with Nicki Minaj.

Now Lil Kim spent just under 20 minutes blasting Nicki Minaj. But what was more interesting is that she spent less than 2 (not) talking about the 500lb gorilla in the room - her plastic surgery.

Now, if you listen to the interview Lil Kim tells a convincing story as to the genesis of her beef with Nicki, which parenthetically is linked to, but not exclusively, as to why her career has stalled. I, and the audience,  have no reason to doubt her - but lets be clear: There’s her side of the story, everyone else’s side of the story & then there is the truth.
Now, I don’t work in the entertainment industry in NYC. Im a communication designer working currently in the fashion industry. Low-Mid level, no one important. Im not hip-hop, don’t listen to Nicki Minaj, did in fact listen to Lil Kim in the 90s - and above all I’m extremely pragmatic.

But with the experience I have, the things I’ve seen, and the stories I’ve heard - I’d bet that the REAL reason (or a big part of) why Lil Kim’s career has flatlined (why folks abandoned her and passed the ball to Nicki) is not because of Nicki, but rather its due to her eccentric behavior including, but not limited to, her extreme plastic surgery. No company today worth their weight in salt, is going to invest money in someone who displays that type of behavior. It’s just bad for business.

I’ll put it too you like this: If Biggie suddenly came back to life today, right now, he would NOT recognize Lil Kim - at all.

I would suffice that she slowly decimated her own brand with every piece of useless cosmetic surgery to her face and body.

Of course that’s just my opinion. I could be wrong.

Voluptuous Panic
18x24 ” Charcoal on paper.

Voluptuous Panic

18x24 ” Charcoal on paper.

A Helpful Guide To Identifying A Dope Fiend.
PS - It helps if you’ve seen Fear & Loathing In Las Vegas

A Helpful Guide To Identifying A Dope Fiend.

PS - It helps if you’ve seen Fear & Loathing In Las Vegas

Is Greed Actually Good?

Is Greed Acutally Good?

[Abstract - write a essay from the perceptive of the Gorden Gekko type, rationalizing greed. Part satire, part truth, part honesty. The question is, where does one end, and the others begin? ] 


Introduction:

The character Gorden Gekko, from the 1987 Oliver Stone film Wall Street is an artificial creation. Though perhaps inspired by very real individuals, he himself is not real. Despite this he has transcended from being just a writers creation to become a cultural icon – an inspiration many working in financial sector and many who don’t. When this antagonist made the proclamation that “Greed is good” in the film, no one could have imagined that those three simple words would come to so accurately portray society and human desires.

 In the consumer society, “I am what I have” is the operative definition of self. Though I didn’t always have the knowledge to accurately describe this concept, it was something that I’ve always had some understanding of, though in a vague sense.

 It started in the 90’s - back in 1996, when my sister bought be a pair of Nike Air Jordans for Christmas. Now, I didn’t follow fashion at the time and had no idea of the cultural significance having a pair of Jordan’s meant. But I quickly found out.

 The first day in school with these Jordan’s on gave me more attention from my peers in 5 minutes than I had received in my entire life – all because of those sneakers.  And I liked it. Who I was as a person was only supported (made interesting) by what I had  - and this case what I was wearing. 

 ‘Greed’ for attention? Yes. But lets be clear, greed in all its forms – greed for life, greed for money, greed for love captures the evolutionary spirit within us all. ‘Greed’ has marked the upward surge of mankind.

 The world runs on individuals perusing their own separate interests. That’s greed.


Consumerim:

Actually, greed is good. Of course none of use are greedy – it’s always someone else, someone other than ourselves. But what is greed? Let me tell you that ‘greed’ is simple individuals perusing their own separate interests. The world runs on greed. And ‘greed’s’ natural child is consumerism.

 Now in today’s society consumerism is often portrayed to be a negative aspect of people’s lives and purchasing behaviors, which inevitably leads to materialism. But, consumerism is actually good. Consumerism is right.

 Consumerism has emerged as part of a historical process that has created mass markets, industrialization, and cultural attitudes that ensure that rising incomes are used to purchase things. 1

 Consumerism rests on the assumption that human desires are infinitely expandable; if there are an infinite number of ways to be dissatisfied; there are boundless opportunities to create new products to meet those desires. 1

 Every day companies compete by inventing a new product to satisfy consumer’s need. Some of these things are very useful and make some people wonder how they would live without them. Many of these products don’t have much impact on society and fade out throughout the years.
 

Money:

Although it has been said that money is the root of all evil, many people actually believe that they would be happier if they were wealthier. People often want more than they have now, more money, a better car, a bigger house, more shoes and clothes.

 We have become lazy since our ability to obtain what we need has become so easy. Now we strive to obtain what we want. Money is all around. Everywhere you go the 21st century offers endless ways to make and earn money. With this money we can gain as many possessions as we want, we only need very little to get food and shelter, now we need more money to buy the latest gadget or toy to produce happiness.

 Many of us take up un-fulfilling jobs in fields that were directly created by money and we do so in order to make more money to buy more wanted items – to buy more things. We waste a lot of our intellect in jobs that do not challenge us and for the most part do little to make a difference or contribute to society. 1

 We are driven to do whatever task pays the most, so we can have the most.
Morals are artificial creations. They are attempting to make order of chaos. Morals are great – but morals are noting more than a set of social ideologies. Social ideologies are trumped by social reality. Money won’t buy you happiness, but it ‘s a damn good start.

Now here’s another does of hard reality: The economy depends on people buying stuff. If people only bought the absolute necessities, most of the country would be unemployed and unable to make enough money to buy those absolute necessities.  

Consumerism increases consumption, more consumption requires more production, more production means more jobs and more income in society, and more income means more consumption. This is the cycle, which if managed properly can bring growth and prosperity to society. Consumerism is essential to our economy, but authorities should imply rules and laws to make sure that consumerism does not destroy our planet. 1

 The growth of demand for consumer goods also encourages investors to put their money into production thus  helping  to  stimulate economic growth.
 

The Corporation:

Now some would argue that corporations have a social responsibility to society at large – that by fostering consumerism (i.e. Black Friday) they’ve become a detriment to society – WRONG!

 A corporation has no social responsibility. Let me repeat: A corporation has no social responsibility. We hear this all the time about business’s having a social responsibility. No they don’t. Only people can have responsibilities. A corporation is an non living entity - an artificial person. Business as a whole cannot be said to have responsibilities, even in a vague sense. Only people have responsibilities and corporations are not people. 2

 The only function of a corporation is to conduct the business in accordance with the desires set forth by its proprietors or founders. They are not responsibly to society at all. Their desires generally will be to make as much money as possible while con­forming to the basic rules of the society, both through laws and ethics. So, literally it can be said that the only responsibility a corporation has is to increase its profits – that’s it! 2

 Corporations foster consumerism because they must. 70% of our economy is driven by consumer spending – without consumerism we’d slip into a recession (like now) or worse a depression in which the economy sees negative growth, unemployment reaches unimaginable levels, the sky falls in and cats and dogs start marrying each other.
 

“Good Greed”

My focus is on consumerism but lets step back for a moment to examine greed and understand that not all greed is created equally. The greed that nearly brought the world economy to a screeching halt in 2008 is disgusting. The greed that led to millions of hardworking people around the world losing their jobs is not “good greed.” You must be greedy without exploiting others. 3

The problem is not that we’re not greedy enough! Sure, there are the occasional Bernie Madoffs and John Edwards’ who lose themselves in their excessive desire — that will do anything to achieve their goal — but that’s not the issue most of us face. Actually our problem is that we are plagued by not caring, wanting, or being too casual in the pursuit of our own goals. 3

 It is not wrong to put yourself first; it is not wrong to peruse your dreams nor is it wrong to stop turning your goals into a group decision and realize the ‘purity of vision’ is singular undertaking. Pure vision is not a democracy but rather based on a natural aristocracy of talent.

Any successful entrepreneur is greedy. They have an insatiable desire to see their product come to market. They want to see their invention in the hands of as many people as possible. They want their book to hit the New York Times bestseller list. They will do whatever it takes to achieve their goal. They will stay up later and get up earlier. 3

Success is the byproduct of greed - it is the end result or the destination.


“To America working you have to keep Americans wanting.”

Criticisms of the anti-consumerist movement are largely based on the perception that it leads to elitism. Ironically its critics are largely elites themselves who believe, that because of their ivory tower experiences they know what’s good for the individual. Wrong. No person should have the right to decide for others what goods are necessary for living and which aren’t, or that luxuries are necessarily wasteful, and thus anti-consumerism is a precursor to central planning or a totalitarian state.

The logical outcome of the anti-consumerism movement would be a return to the dystopian nightmare that existed in Russia and Eastern Europe for much of the 20th century.

Consumerism is not some evil phantom seeking to reek havoc on society. It’s a social reality. Consumerism is the engine of capitalism. To keep America working, you have to keep Americans wanting.

All Designers are in the commercial industry. That’s the great divide between them and Artists. Ill regardless if they are helping to sell cigarettes or solar panels Designers (graphic designers, communication designers, etc) must foster consumerism for the simple fact that consumerism increases demand – demand increase jobs. Included in the ‘Jobs’ category is the role of a designer.

TV commercials, posters, viral videos, music videos, T-Shirts and other graphic apparel; sneakers, book covers, consumer products, logos – all things designed are driven by consumerism. Designers need demand. Designers need consumerism.

The truth is, we’re all greedy – not a single human being is above it. Greed, in all its forms – greed for life, greed for money, greed for love - captures the evolutionary spirit within us all.

So, is greed actually good?

Works Cited

1) The Pros and Cons of Consumerism, Maxwell Payne, 2007, http://www.associatedcontent.com/article/311895/the_pros_and_cons_of_consumerism.html, 18, November 2010

2) Greed is Good: Why You Need to Tap Into Your Inner Gordon Gekko, Robert Pagliarini, 15 Feb 2010, http://moneywatch.bnet.com/career-advice/blog/other-8-hours/greed-is-good-why-you-need-to-tap-into-your-inner-gordon-gekko/1183/, 23, November 2010

3) The Social Responsibility of Business is to Increase its Profits, Milton Friedman, The New York Times Magazine, 13, September 1970, http://www.colorado.edu/studentgroups/libertarians/issues/friedman-soc-resp-business.html 23, November 2010

Stephen Colbert thanks his Colbert Super Pac donors for his Peabody Award. Hero’s like Suq Madiq & Munchma Quchi.


Once again he’s found enough loopholes in the legal code to literally turn the political system a total joke.

(screen caps from episode that aired on 4/4/12)

Stephen Colbert has found enough loopholes in the legal system to literally turn the political system a total joke. Here, he reveals some of the donors to Colbert Super-Pac.

Wedding Fotografia

Recent wedding photographs I did.

(a small sample for the over 700 fotos)

‘Lady Grinning Soul’ - New Drawing! 18x24 inches / Charcoal on paper / ©2011

Part of my “Shit You Cant Buy” Private Collection

Presentation showing process.

Album Artwork for Greg P.O.R.N of The Roots.

Providing Production / Coloring. Original Artwork by Sadao Bey (burnphoenix06@yahoo.com)

Draft proposals showing process & progress.

Rick Perry “Oops” 2012

(Satirical) Campaign Posters for Governor Rick Perry.

Downloadable & Printable versions available here, via flickr: http://bit.ly/upNMnM

Feel free to download, print, share & distribute. Please dont sell.

Marilyn Manson: Born Villain.

Free Downloadable & Printable Posters (available here: http://bit.ly/rPdr4D  ) In Support of Marilyn Manson’s New Album, Born Villain.

Feel Free to Download, Share & Distribute. Just Don’t Sell.

From Piracy to Profits, Part 1: Obsolete Business Thinking & Technology, Not Piracy, Is What’s Hurting The Music Industry.

From Piracy to Profits,Part 1:

Obsolete Business Thinking & Technology, Not Piracy,  Is What’s Hurting The Music Industry.

(Exert from ‘This Open Business Of Music’– By Max Gaines)

It’s no secret there’s lot of concern these days about what the music industry will look like going forward – especially from those who work on the label side of the business and have been around for some time. A variety of things have caused rapid change in the market. 14

Competition from other forms of entertainment have, such as the internet, movies and video games, have put more pressure on the industry, as consumers have been presented with significantly more options for their entertainment attention and dollars. And of course there is file-sharing – or as the industry prefers to call it (accurately or not) “piracy.” 14

There is solution seems to be simple: “stop worrying and learn to embrace the business models that are already helping musicians make plenty of money and use file sharing to their advantage, even in the absence of licensing or copyright enforcement.”  The model can be defined as: 
Connect with Fans (CwF) + Reason to Buy (RtB) = The Business Model. 14

Trent Reznor, the man behind the band Nine Inch Nails, has done so many experiments that show how this model works that it’s difficult to describe them all. He’s become a true leader in showing how this model works in a way that has earned him millions while making fans happy, rather than turning them into the enemy. Reznor has always reached out to his fans, and has an amazingly comprehensive website, with forums, chat rooms and many other ways of interacting. He encourages fans to better connect with each other as well. 14

With his release of the album Ghosts I-IV, he released all the tracks under a Creative Commons license allowing anyone to share them online for free. Yet, he also set up some “reasons to buy.” 14 You could get the two disc CD, if you wanted, for just $10. Above that, though, was a Deluxe Edition Package, for $75. It was, effectively, a box set, but around a single album. Beyond the two CD’s it also included a DVD and a Blu-Ray and a photobook of images.

Where the experiment got even more interesting was that he offered up the $300 Ultra-Deluxe Limited Edition Package — of which there was a limit of just 2,500 available. This was an even more impressive “box” that also included the songs on high quality vinyl, and some beautiful giclée print images. 14

It took just 30 hours for all 2,500 to sell out, bringing in $750,000 in just over a day. 

For music he was giving away for free. 

But, by connecting with fans, and giving them a reason to buy, they did. In the first week alone, combining all the other offerings for Ghosts I-IV, Reznor brought in $1.6 million. Again, this is for music he was giving away for free.14 The idea that you “can’t compete with free” or that free means there’s no business model is a myth.

Reznor’s next album, The Slip, was released just a few months later, and again, was given away entirely free, but it was released the very same day as he announced his next Nine Inch Nails tour. All he asked, if you wanted to download the music, was that you provide an email address. He then gave fans the option of what quality to download the songs — all the way up to lossless FLAC files. All for free. But, if you downloaded the files, you also learned about the tour, and the tickets were quickly snapped up. 

The free music didn’t hurt Reznor’s ability to earn money. It enhanced it. 14

Some have complained that Reznor is not a practical example. After all, that huge fanbase came about in large part because of his success under the “old” model, where he was signed to a major record label who helped promote his album and turn him into an international rock star.

In the earlier part of this decade, Cory Smith was a high school teacher, playing open mic nights on weekends. But then, he started focusing on building his music career. He started playing numerous live shows, and really worked hard to connect with fans. He gave away all of his music for free off of his website, and used that to drive more fans to his shows. 14 

On top of that, he offered special $5 pre-sale tickets to many shows, which has a useful side effect: his biggest fans would convince many others to go as well, building up his fan base, and getting more people to go to more shows. He tried pulling his free music off of his website as an experiment, and saw that his sales on iTunes actually dropped when he did that. 14

In 2008, mostly thanks to live shows, Corey was able to gross nearly $4 million. While giving his music away for free. Connecting with fans and giving them a reason to buy worked wonders. 14

Jonathon Coulton was a computer programmer. In September of 2006, he decided to write, record and release a new song every week for a year — with all of the songs being released under a Creative Commons license, so anyone could share them. And share them they did. Coulton became a cult sensation, and was making a good living within months of this decision. His fans were supporting him along the way, even creating music videos for every song he released. 14

He started using services like Eventful to more strategically target concert opportunities. If enough people requested a show in a certain location, he knew it would be profitable and started “parachuting” in to do shows that he knew would make him money. Again, by connecting with fans and giving them a real reason to buy, he was able to build up a great following and make a good living.14

Amanda Palmer is a singer who made a name for herself as a member of the “punk cabaret duo” The Dresden Dolls. While she put out a solo album on Roadrunner Records (a subsidiary of Warner Music), she found that they had little interest in promoting her, so she decided to take matters into her own hands. She reached out directly to fans on services like Twitter, often setting up “flash gigs” where people would show up wherever she wanted to perform. In June of 2008, one such flash gig at a beach in Los Angeles ended up with an impromptu music video for a song that Palmer had just learned that morning, due to a suggestion from a fan on Twitter. And she’s doing a good job making money, as well. 14

Bored in her apartment one evening, she started twittering with fans and came up with a jokey t-shirt suggestion, and set up an immediate store, selling $11,000 worth of t-shirts in days. Another night, she started a live video stream from her apartment, and started an impromptu online auction for various items in her apartment associated with a recent tour, often with a personalized twist. In three hours, she brought in $6,000. Connecting with fans and offering them something fun and unique to buy worked wonders. 14

To date, she hasn’t received a single royalty check from Warner Music on her album. 14

Hip Hop as a culture grew up In part because if freely distribution is the form of mixtapes. It’s a way to connect with fans.  Popular rapper Lil Wayne spent two years giving away music for free in the form of mixtapes, radio spots, and guest spots on other artist’s songs.

In 2007 his album The Carter III, in spite of the album being leaked, sold over one million CD’s its first week, a figure unheard of in this market.

Fans and artists are connecting directly and doing so in a way that works and makes money. Putting in place middlemen only takes a cut away from the musicians and serves to make the markets less efficient. They need to deal with overhead and bureaucracy. They need to deal with collections and allocation. They make it less likely for fans to support bands directly, because the money is going elsewhere. Even when licensing fees are officially paid further up the line, those costs are passed on to the end users, and the money might not actually go to supporting the music they really like. 14

Music with a price is content. Music that is shared freely acts as information. One is used to sell the other. Ultimately what music is an experience. It’s hard to get “experience” off of free audio files.

Freely distributing music online independently has been easy, allowing acts to grow a fan base and turn a profit of their music. Suddenly radio playlists, MTV, and A&R are not the all-powerful gatekeepers to success. 13

But we must stop thinking of free as in a free beer and more along the lines of free speech.

Lets assume the position that the music industry isn’t loosing money – they’re just not making as much money as they want. And the blame for all their woes falls squarely on their shoulders.

More music is being produced today than ever before and plenty of people are still making a ton of money in the music business. What’s actually in trouble is the traditional form commercial distribution and centralized ownership of the means of production, not the music industry itself.

Somewhere along with way record companies figured out that it’s a lot more profitable to control the distribution system (plastic disc) than to control the artists. And since the companies didn’t have any real competition, artist had no other place to go. 13 Record companies controlled the promotion and marketing; only they had the ability to get lots or radio play and get records into all the big chain stores. The power them above the artist and the audience. They owned the plantation. 13

The Recording Industry Association of America (RIAA) blames file sharing for the industries decline, ignoring many other factors. Radio ratings have plummeted in recent years, as more people tune into MP3 players (making their own play list) or talk on their cell phones rather than listening to the top forty on their drive home from work. 13

A 2004 Harvard study that matched the hard data on downloading against the actual market performance of the song sand albums being downloaded found that any negative effects downloading has on CD sales was “statistically indistinguishable from zero. The study concluded that file sharing was actually boosting CD sales for the top 25 percent of albums that had more than six hundred thousand sales. 15

According to the study for every 150 songs downloaded, sales jumped by one CD, because those downloading these songs and albums were not the people who would have bought these albums or singles in the first place. 15

A study by the Pew Internet & American Life Project asked three thousand musicians and songwriters their views on file sharing in April 2004. A total of 35 percent of those polled said that file sharing was not necessarily bad, because it helped market and distribute their work: 35 percent said file-sharing had actually boosted their reputation. Only 23 percent of those asked agreed that file-sharing was harmful: 83 percent said they had deliberately put free samples of their music online. 13

The fact of the matter is that theirs is no hard evidence to support the idea that free distribution of music is leading to a decline in profit. The truth is that the CD market went into decline because it’s become an obsolete format, peddled by an out-of-touch industry too stubborn the change. The only reason why the majors had it so good for song long was they could keep selling people back their entire record collections on records, then tapes then CD.

Once the majors became multinationals, complacency set in and output suffered, Add to this the consolidation of radio stations into smaller conglomerates and suddenly you have a business with a range of products as diverse as a McDonalds menu. The death of the record industry was the best thing that could’ve happened to the business of making music. 13

So lets now set aside the myth that the music industry is in trouble. It’s only in trouble if you’re solely in the business of selling little plastic discs – and that’s because those discs are increasingly obsolete.

Itunes may be helpful, but in reality all iTunes amounts to is being a digital version of Sam Goody. Simple putting a digital face on your out of date business model wont stop its demise. It will only stall it, for the time being.

The story of the record industries response to file sharing is relevant to every other business, because the communities and technologies that changed music could affect every area of our economy. As new economic systems underpinned by sharing begin to out compete markets, understanding piracy will become a priority for nations organizations and individuals alike.

Works Cited

1) The Golden Age if Infinite music, John Harris, 2010, http://news.bbc.co.uk/2/hi/8330633.stm, 10, October 2010

2) Greg Kot: How the Internet Changed Music, Claire Suddath, 21 May 2009, http://www.time.com/time/printout/0,8816,1900054,00.html, 1, October 2010

3) Future of Music 2010: The Wild, wild west new sheriff has a tough job ahead of her, Greg Kot, 6 October 2010, http://leisureblogs.chicagotribune.com/turn_it_up/2010/10/future-of-music-2010-the-wild-wild-wests-new-sheriff-has-a-tough-job-ahead-of-her.html, 9 November 2010

4) Napster: 10 years of change, Darren Waters, 8 June 2009, http://news.bbc.co.uk/2/hi/technology/8089221.stm, 9 October 2010

5) Music Industry ‘missed’ Napster, BBC News, 26 June 2009, http://news.bbc.co.uk/2/hi/technology/8120552.stm, 9 November 2010

6) U.S. Album Sales dropped in 2009, Reuters, 10 January 2010, http://www.washingtonpost.com/wp-dyn/content/article/2010/01/07/AR2010010704483.html, 24 May 2010.

8) Oink Pink Palace, Wikipedia, 2009, http://en.wikipedia.org/wiki/Oink%27s_Pink_Palace, 4 October 2010.

9) Trent Reznor: OiNK Was Better Than iTunes, Eliot Buskirk, 31 October 2007, http://www.wired.com/listening_post/2007/10/trent-reznor-on/, 4 October 2010

10) What is BitTorrent? A Beginners Guide, Jared Moya, 2 April 2008, http://www.zeropaid.com/news/9378/what_is_bittorrent_a_beginners_guide/, 9 November 2010

12) The Music Industry, Mike Masnikc, 17th August 2007, http://www.techdirect.com/articles/20070817/024502.shtml, 4 October 2010

13) Matt Mason, The Pirates Dilemma: How Youth Culture is Reinventing Capitalism (New York: Free Press, 2008) 148 – 160, 125

14) The Future of Music Business Models (And Those Who Are Already There), Mike Masnikc, 25th January 2010, http://www.techdirect.com/articles/20070817/024502.shtml, 4 October 2010

15) File Sharing May Boost CD Sales, Beth Potier / Harvard News Office, 15th April 2004, http://www.news.harvard.edu/gazette/2004/04.15/09-filesharing.html, 4 October 2010

From Piracy to Profits, Part 2: A Radical Suggestion For Rebuilding the Music Industry.

From Piracy to Profits Part 2:

A Radical Suggestion For Rebuilding the Music Industry.

(Exert from ‘This Open Business Of Music’ - By Max Gaines)

As Machiavelli once said: “It must be remembered that there is nothing more difficult to plan, more doubtful of success, nor more dangerous to management than the creation of a new system. For the initiator has the enmity of all would profit by the preservation of the old institutions and merely lukewarm defenders in those who gain by the new ones.

What gives something value? Is it the set price? Is it the quality? Is it the content?

When people began sharing MP3’s and changed the way the music business does business once again – they created a better distribution system. iTunes and Prince’s NPG Music Club were the first attempts at making major steps towards legitimizing this business model.  

As Steve Job puts it: “If you want to stop piracy – the way to stop it is by competing with it” Today selling of plastic discs only accounts for a quarter of what we consider to be the music business. Piracy was a market signal. 3

CD sales in 2009 have dropped nearly 55% since their peak tin 1999 –including digital album sales.

When something is given away for free, the conventional wisdom is that it hold no value – it makes no money. But this might be wrong. What gives something value? Is it the set price? Is it the quality? Is it the content?

Paulo Coelho wrote a book called The Alchemist. It was released in the late 80’s and has become a worldwide best seller – until they reached Russia. For one reason or another his publishers couldn’t figure out why this book, which is loved everywhere else, wasn’t selling in Russia. So behind his publishers back Coelho started a blog called the Pirate Coelho – and started posting links to where fans could get pirated e-books of The Alchemist for free. 3

The Alchemist went from selling 1000 copies a year to 100,000 copies a year in Russia? Coelho realized that the free e-book was information and the hard copy was property – he used one to sell the other.

The same is true for cable network AMC’s recent hit series The Walking Dead. Not only did this television series break ratings records for the network, but also it was the most pirated television series of 2010. 7 Piracy didn’t hurt the series – it enhanced it. It allowed the message of the show to spread without borders or restrictions thus adding to its popularity. 7 Freely consumed content through piracy acted as information – information that increased the popularity of the series which is the property.

Popular British sketch comedy series Monty Python was televised from 1969 to 1975. In recent years Monty Python decided to launch a “crazy” campaign which included posting all of their Monty Python content on youtube, for free. They asked, in return, that those who view consider buying the actual DVD through a provided link. And you know what? It worked. Python’s DVD’s climbed to No. 2 on Amazon’s Movies & TV bestsellers list in 2009, with increased sales of 23,000 percent. 10 The freely distributed content on their youtube channel acted as information – the property in the form of DVD’s was helped. 10

 Just as commercial industries are under like the music industry are in a state a chaos – so to is the role of a designer within these industries. We no longer pay attention.  Bad advertising is no longer working. You now have a choice as to whether you engage with traditional advertising. Traditional roles for designer include crafted forms of communication – that are becoming less and less relevant to people’s lives. People are now able to filter out the crap. It doesn’t how big you make your logo or your price point, we can filter it out and our brains will just ignore it.

Chicago ad agency BBDO Energy came to the same conclusion in a study done in 2005. “Consumers are no longer buying what everyone else is selling,” they announced. “What happened? For starters, being ‘different’ is no longer a difference for a brand. And being disruptive no longer gets consumers attention. After years of being of being told what to buy, consumers have changed their minds. They view brands as less relevant, they say they feel disconnected and unimportant – bystanders rather than participants.” 3 So many ads shout at us all the time, one on its own is about as relevant as a single scribbled tag in a train car full of them. We simple tune them out like white noise.

As we spread this world with complex technical systems – on top of the natural and social systems already here – old style, top down, outside in design simple won’t work.

Since 2000 the music industry and their political platform the Recording Industry of America (RIAA) have spent over $90 million in lobbying policy makers in the United States alone for copyright protection and to maintain the status quo. It is clear that any effort to bring about change in the business of music will require change copyright laws - change that will actually reflect how a growing section of the population consume content.

Many content creators who have copyright available to them clearly don’t value that copyright very much. A huge percentage of content creators simply chose not to renew their copyrights, because they knew there was little or no value in the copyright itself. Only 35% is ever renewed. In fact, the only type of work that had a renewal rate higher than 50% was movies, which came in at 74%. 9

The content creator clearly is no longer getting any benefit out of the copyright at that stage, and thus reverting the work to the public domain makes the most sense. 9

Music is content that can and should be available to make the public domain more fruitful and to enable new creative works — and yet it gets locked up anyway, even though the very people copyright law is supposed to protect clearly don’t value what copyright gives them. So why do we still automatically give them copyrights, thereby harming the public domain, while adding little to no benefit to the content creators themselves?  9

 What is called for is a counter to the lobbying efforts by the RIAA and change the course of the music industry. 

A collective platform modeled after political lobbyists and think tanks  for the formulation and promotion of the structural reinvention of the way content (popular music) is distributed and consumed.

This platform will take its message directly to policy makers and individuals alike by pushing for:  

(1) The decentralization of the music industry  

(2) Copyright reform to reflect how content is currently consumed that will free up content from its current restrictions.  

(3) The systemic design necessary for a legal, open and free form of file sharing for the creation, sharing and distribution of popular music.  

(4) Realization that such reforms and such will equal a viable economic model.

Parenthetically, the aim of such a platform will not be to destroy the music industry, but rather to save it. We will not call for the abandonment of physical music (in whatever form it may take) but rather a new system for its enchantment.

Tomorrow’s business of music will not just be about open source, or free distribution or copyright reform – but rather it will be about the people over the process; about responding to change not following a plan; about collaboration over laws and negotiations; and about designing a business and system for the sharing of popular music that is actionable and relatable in peoples daily lives.

Such a file sharing system will rely on the principles of open source technology. That is to say:   

(1) The system must be freely available or it can be part of a package that is sold.  

(2) Any artist (content maker) must be allowed to add to (or modify to) with content individually or as part of a package. Modified versions can be redistributed.   

(3) And fans must be allowed to freely access (take) and share (put in) all content.

What the Music Industry represents with centralization of ownership and means of production is not the free market at work, but rather an extension of Feudalism. It is the enemy of freedom. Systems based on open source technology work like the youth the youth cultures that dreamed them up, open environments that can infect people with the passion of those who built them and become self-perpetuating, growing sustainable and often substantially. In essence, they are the free-ist of free market capitalism. 

Successful open source based projects are driven by the passions of their audience. Open source projects inspire people with new ideas and will gain support because there is nothing else like it. The same is true for such an existing system like Wikipedia whose cause is amassing all out knowledge in one place, for free, is a worthy one. The lawyers who contribute to open source projects such as Lawunderground.org do so for the same reasons Hip Hop DJ’s promoted obscure music in the 1980’s for very little pay: they believed in carving out a different way of doing things.

A business model based on an open free file sharing system will strike a balance between encouraging innovation and creation without giving away so much that you cannot sustain the model. For example, using freely distributed music as information and using the physical form and content. The information helps give fans a reason to buy the content.

Some would also argue that what is proposed is actually digital communication. But this is wrong. In fact is exactly the opposite. What an open and free form of file sharing system for the distribution of popular music will accomplish is the laying of a foundation for new ecosystems of private enterprise that will reinvigorate competition and break inefficient conglomerates.

Works Cited

 1) Generation Y-Pay refuses to pay for downloads, Carrie Ann Skinner, 7 September 2009, http://www.networkworld.com/news/2009/090709-generation-y-pay-refuses-to-pay.html, 4 October 2010

2) It’s All Free! Lev Grossman, 5 May 2003, http://www.time.com/time/magazine/article/0,9171,1101030505-447204,00.html, 1 October 2010.

3) Matt Mason, The Pirates Dilemma: How Youth Culture is Reinventing Capitalism (New York: Free Press, 2008) 174-176, 142

4) John Thackara, In The Bubble: Designing In A Complex World (MIT Press, 2006) 7

5) Peter Mason, The Rough Guide to Hip-Hop (Rough Guides, 2005) 332-333

6) Piracy Fight Shuts Down Music Blogs , Ben Sisario, 13 December 2010, http://www.nytimes.com/2010/12/14/business/media/14music.html?_r=2&ref=technology&pagewanted=print, 13 December 2010

7) The Walking Dead Currently The Most Pirated Series, Mitch Michaels , 12 December 2010, http://www.411mania.com/movies/news/165075/%5BTV%5D-The-Walking-Dead-Currently-The-Most-Pirated-Series.htm, 13 December 2010

8) Special Report: Music Industry’s Lavish Lobby Campaign For Digital Rights, Bruce Gain for Intellectual Property Watch, 16 January 2011, http://www.ip-watch.org/weblog/2011/01/06/special-report-music-industrys-lavish-lobby-campaign-for-digital-rights/ 20 January 2011

9) If Artists Don’t Value Copyright On Their Works, Why Do We Force It On Them? Mike Masnick, 8 February 2011, http://www.techdirt.com/articles/20110207/02222612989/if-artists-dont-value-copyright-their-works-why-do-we-force-it-them.shtml, 9 Febuary 2011

10) Can Free Content Boost Your Sales? Yes, It Can, Stan Shroeder, 22 January 2009, http://mashable.com/2009/01/22/youtube-boost-sales/, 9 February 2011

From Piracy to Profits: Part 3 - Hip Hop, Punk & Generation Y Are All Prepped For Piracy, Otherwise Known As, ‘Sharing’

From Piracy to Profits Part 3:

Hip Hop, Punk & Generation Y Are All Prepped For Piracy, Otherwise Known As, ‘Sharing’

(Exert from ‘This Open Business Of Music’ - By Max Gaines)

Youth culture tends to act as social experiments. They are catalyst for change. For the last 60 years, capitalism has run a pretty tight ship in the West. But in increasing numbers, pirates are hacking into the hull and holes are starting to appear. Privately owned property, ideas, and privileges are leaking out into the public domain beyond anyone’s control.

The idea of free has to be looked at in a different light not as in a free beer, but as in free speech. Acts of free distribution will not only change distribution in general, but have been integral to some of the most influential youth cultures of our time.

Hip Hop

Hip hop has long since dominated youth culture for decades, and has bred brilliant entrepreneurs who are now among the richest people in America. In the beginning, Hip Hop got its license to operate in the South Bronx because it was an escape, a way for people to stop fighting and to channel that energy into breaking, rapping, DJ-ing and graffiti. Hip Hop doesn’t recognize or respect tradition in the traditional sense. It grew from a community who’d had their history stolen. It got its acceptance outside the Bronx by borrowing and remixing elements from other scenes, such as punk, funk and disco. Anyone can be part of Hip Hop, anyone can borrow it, but nobody can own it. 3

In hip hop’s earliest days, the music only existed in live form, and the music was spread via tapes of parties and shows Hip hop mixtapes first appeared in the mid 1970’s in New York City. 5 As more tapes became available, they began to be collected and traded by fans. In the mid-1980’s, Djs began recording their live music and distributing their own mixtapes and the mixtapes of obscure Artists. Soon this was followed by other Djs. 6

Mixtapes became increasingly popular by the mid-1990s and fans increasingly looked for exclusive tracks and freestyles on the tapes. Mixtapes are now commonly used by labels and new artists as a promotional tool as a way of generating hype in a sales model relying on word of mouth to increase the artist’s credibility. Often each track on a promotional hip hop mixtape will feature the same artist, thus making it more difficult to differentiate from a standard album. Mixtapes will usually have much lower production values than a studio album or roughly mixed versions of the tracks and contain numerous collaborations, remixes, freestyles and voice-overs. 5

Hip Hop as a culture was able to spread because of the freely distributed music in the form of mixtapes. The Recording Industry Association of America, a political lobby group funded by the major record corporations, classifies these mixtapes as bootleg or pirated music CD’s. 5

PUNK

In the 1970’s Punk was a youth culture. In Britain it was a reaction to unemployment, boredom and the lack of opportunity many young people saw in their future. Punk empowered ordinary people. Not only did they encourage others to start making music, but also to deign their own clothes, start their own magazines and set up gigs, demonstrations, record stores and record labels. Punk resisted authority, saw anarchy as the path to a brighter future and inspired a generation to do it yourself.  3

The ideas punk amplified are reaching a fever pitch. Today we see the aftereffects of punk everywhere. Once disregarded, Punk is now an accepted and idealized. But this counter-culture could’ve only serviced if not for it illegal broadcasting and distribution of its content. 3

As music historian Clinton Heylins suggests in Bootleg: The Secret History of the Other Recording Industry, “It could be argued that the influence and impact of the original punk bands lingered on only because their music was bootlegged.” 3

Generation Y-Pay

Call it the curse of availability but less than one in two 16 to 34 years olds believe they should pay to download TV and movies from the web, says The Industry Trust for IP Awareness (Itipa), a UK based organization set up to promote “copyright and all the good stuff it does” within the UK. 1 They are referred to as Generation Y-Pay – an entire generation predisposition to free. Every month 2.6 billion files are downloaded illegally, and that for music. 2 What this generation represents is the pirate dilemma. The question is, do we fight pirates, or do we learn from them? 1

There was a time when information was treated a property. Current copyright laws reflect this Information would fly out in only one direction between producers and consumers, broadcasters and receivers. Now information is a two way street. Now, its not always treated as property and anyone can broadcast a signal of their own – producing, remixing or re-purposing information.

As a result commercial industries, like the music industry are breaking down under their own weight and old business models are beginning to disappear. Are commercial industries being bleed dry by generation y or are they simple highlighting that their business models are outdated, their distribution is out of touch and the technology they’re peddling is obsolete?

Works Cited

 1) Generation Y-Pay refuses to pay for downloads, Carrie Ann Skinner, 7 September 2009, http://www.networkworld.com/news/2009/090709-generation-y-pay-refuses-to-pay.html, 4 October 2010

2) It’s All Free! Lev Grossman, 5 May 2003, http://www.time.com/time/magazine/article/0,9171,1101030505-447204,00.html, 1 October 2010.

3) Matt Mason, The Pirates Dilemma: How Youth Culture is Reinventing Capitalism (New York: Free Press, 2008) 174-176, 142

4) John Thackara, In The Bubble: Designing In A Complex World (MIT Press, 2006) 7

5) Peter Mason, The Rough Guide to Hip-Hop (Rough Guides, 2005) 332-333

6) Piracy Fight Shuts Down Music Blogs , Ben Sisario, 13 December 2010, http://www.nytimes.com/2010/12/14/business/media/14music.html?_r=2&ref=technology&pagewanted=print, 13 December 2010

7) The Walking Dead Currently The Most Pirated Series, Mitch Michaels , 12 December 2010, http://www.411mania.com/movies/news/165075/%5BTV%5D-The-Walking-Dead-Currently-The-Most-Pirated-Series.htm, 13 December 2010

8) Special Report: Music Industry’s Lavish Lobby Campaign For Digital Rights, Bruce Gain for Intellectual Property Watch, 16 January 2011, http://www.ip-watch.org/weblog/2011/01/06/special-report-music-industrys-lavish-lobby-campaign-for-digital-rights/ 20 January 2011

9) If Artists Don’t Value Copyright On Their Works, Why Do We Force It On Them? Mike Masnick, 8 February 2011, http://www.techdirt.com/articles/20110207/02222612989/if-artists-dont-value-copyright-their-works-why-do-we-force-it-them.shtml, 9 Febuary 2011

10) Can Free Content Boost Your Sales? Yes, It Can, Stan Shroeder, 22 January 2009, http://mashable.com/2009/01/22/youtube-boost-sales/, 9 February 2011

 

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